Abstract: Extensive collection of silk screen prints and slides, as well as organizational records, photographs, and ephemera of the
Los Angeles cultural arts center and studio. Founded in the early 1970s, during the height of the Chicano Civil Rights movement,
by Mexican artists, Carlos Bueno and Antonio Ibaez, and several Chicano artists, including Frank Hernandez and Sister Karen
Boccalero.

Copyright has not been assigned to the Department of Special Collections, UCSB. All requests for permission to publish or
quote from manuscripts must be submitted in writing to the Head of Special Collections. Permission for publication is given
on behalf of the Department of Special Collections as the owner of the physical items and is not intended to include or imply
permission of the copyright holder, which also must be obtained.

Preferred Citation

Self-Help Graphics and Art Archives, CEMA 3, Department of Special Collections, University Libraries, University of California,
Santa Barbara.

Acquisition Information

Donated by Self Help Graphics and Art, Inc., 1986-2004

Organisational History

Self-Help Graphics and Art, Inc. is a non-profit organization and serves as an important cultural arts center that has encouraged
and promoted Chicano art in the Los Angeles community and beyond.

The seeds of what would become Self-Help Graphics and Art, Inc. were planted in 1970 during the height of the Chicano Civil
Rights movement when two young Mexican artists, Carlos Bueno and Antonio Ibaez and several Chicano artists, including Frank
Hernandez, met Franciscan nun and Temple University-trained Master Artist, Sister Karen Boccalero. Reflective of the contemporary
social and political climate, Bueno and Ibaez were frustrated by the inaccessibility and lack of facilities available to young
Chicanos wishing to develop their talents as artists. The cost of private art schools was prohibitive to most Chicanos. While
it is generally conceded that art is an intensely personal expression that holds no creative boundaries, some in the art world
did not yet accept the concept of a unique Chicano art that would serve as an expression of cultural values. In this context,
they set out to develop a plan that would remedy this situation; a plan that would not only serve the needs of aspiring Chicano
artists, but that would also serve the greater East Los Angeles community.

Long hours of careful planning and canvassing the community for support ultimately paid off. With a grant from the Order of
the Sisters of St. Francis, the trio (who by this time were joined by others interested in serving their cause) were able
to acquire 2,000 square feet of space that had once served as a gymnasium in the heart of East Los Angeles. Its subsequent
conversion into an art studio and gallery enabled the group to open the doors of Self-Help Graphics in 1972. The organization
was so well-received by the surrounding community and by aspiring artists that operations soon outgrew the 2,000 square foot
facility. Continuing the search for funding through public as well as private resources, a grant from the Campaign for Human
Development in 1973 enabled SHGA to acquire an additional 7,000 square feet adjacent to the existing studio and gallery space.

Once Self-Help Graphics and Art was firmly established as an art center, the core members of the group began to think beyond
the walls of the studio and imagine how in addition to developing their own talents and furthering Chicano art, they could
reach out in a way that would benefit the greater East Los Angeles community. Placed in its larger historical context, Self-Help
Graphics and Art's efforts may be seen as a microcosm of the macrocosmic Chicano Power movement of the late 1960s and early
1970s. One of the goals of this movement was to foster an appreciation for Chicano roots. Chicano activists placed an emphasis
on their mesoamerican past rather than on their European Spanish heritage. Many contemporary activists argued that rather
than honoring and preserving this heritage, the dominant Anglo socio-cultural norms were eroding the indigenous culture. Like
these activists, Self-Help Graphics and Art feared that within such an atmosphere, young Chicanos would not only soon forget
their cultural values, but would also develop a negative sense of their heritage and of themselves in light of the Anglo socio-cultural
practices and values being taught in the public school system and disseminated by the popular media.

Self-Help Graphics and Art spent long hours developing and planning ways through which in addition to exposing barrio children
to a variety of artistic media, they could utilize art forms to instill within these children a positive sense of self, community,
and culture. Many of the children that Self-Help Graphics and Art wished to help were either immigrants themselves, or the
sons and daughters of immigrants not far removed from their Mexican past. Since participation in art does not require a sophisticated
command of spoken or written language, art was perceived as an excellent vehicle by which to achieve this end.

While Self-Help Graphics and Art held workshops on its premises to educate neighborhood children (as well as adults) about
art and culture, the sheer physical geography of East Los Angeles isolated much of the target group from their services. In
an effort to remedy this shortcoming, they set out to devise a plan that would bring the art studio to the surrounding community.

In August 1975, following an exhaustive fund raising campaign, Self-Help Graphics and Art instituted the Barrio Mobile Art
Studio. The organization acquired and customized a van for this purpose. This specially equipped van introduced children to
filmmaking, silkscreen, photography, sculpture, batik, painting, and puppetry. Through contract with the Los Angeles Unified
School District, Self-Help Graphics and Art was able to bring its program to various East Los Angeles elementary schools and
thus provide a level of multicultural education in the arts to children who currently had none in their curriculum. The Barrio
Mobile Art Studio program was enormously successful and well-received by students, teachers, school administrators, and civic
leaders. It remained in operation until Self-Help Graphics and Art phased out the program in 1985. Arguably, the Barrio Mobile
Art Studio served as a prototype for the types of multicultural curriculum programs that the Los Angeles Unified School District
would later adopt.

Self-Help Graphics and Art has played an active role in community affairs. Included among these activities are the sponsoring
of numerous workshops and art exhibitions. Ever since 1974 the organization staged the now nationally recognized East Los
Angeles Da de los Muertos Celebration. This holiday, which is traditionally celebrated on November 1 and has its origins in
Mexico, was originally conceived of as a one-time celebration to be staged by Self-Help Graphics and Art. The following year
the community demand for this event was so great that the organization decided to continue sponsoring the annual event. With
support from the National Endowment for the Arts and the National Endowment for the Humanities, the East Los Angeles Da de
los Muertos celebration grew into an event that attracted national attention. The elaborate celebration continued to survive
and thrive not only because of grant money received from numerous public agencies and private foundations, but through the
widespread community support that served as the backbone for producing the celebration. This three day celebration accomplished
some of Self-Help Graphics and Art's goals by educating East Los Angeles residents of their heritage, introducing them to
the creative processes involved in art, and ultimately, helping to build a stronger community. By 1985, the Da de los Muertos
celebration had become so popular among the residents of East Los Angeles that the program could be sustained without the
primary support of Self-Help Graphics and Art. With assurance that others would take up the responsibility for planning and
organizing the event, the organization decided to take a secondary role in staging the celebration. Such a role allowed SHGA
to devote more time and energy to the primary reason behind its founding: furthering Chicano Art and providing a training
ground for aspiring Chicano artists.

Self-Help Graphics and Art has developed a national reputation for the exceptional quality of the screenprints produced by
artists at the facility, while its private gallery, the Galera Otra Vez, also receives much praise and is well-recognized
as an important arena for exhibiting artists' works. With its continued emphasis on advancing Chicano art, Self-Help Graphics
and Art remains one of the most important centers in the country for training Chicano artists.

Scope and Content of Collection

The Self-Help Graphics and Art, Inc. Collection (SHGA) consists of eight series distributed among fifty-seven archival boxes
that occupy twenty-seven linear feet of space. These boxes hold information pertaining to the everyday operation of SHGA.
In addition, the collection contains one hundred twenty-nine silk screens that were produced at the East Los Angeles facility.
There are eight portfolio containers for the silk screen prints. The organizational records cover the years 1960-1997, while
the silk screen collection holds works that were produced between 1979-2013. The collection is arranged in the eight series
as follows:

Series Description

Series I: Internal Administrative Records, 1960-1992. Series I consists of seven subseries and is housed in nineteen archival boxes.

Subseries I Correspondence, 1960-1992, is comprised of both incoming and outgoing correspondence. Much of the incoming correspondence (arranged alphabetically
by sender) are letters of support from various public and private institutions. These letters call attention to the valuable
social and cultural benefits provided to the East Los Angeles area as a result of the community activities sponsored by Self-Help
Graphics & Art. Outgoing correspondence (arranged chronologically) largely consists of copies of letters and reports which
were mailed to current and potential financial supporters in an effort to keep them apprised of the services SHGA provided
to the community, as well as to inform them of the successes of its outreach programs. Public relations materials of this
kind were used to acquire future support and to help ensure continued support from those already financially assisting SHGA.
The multitude of outgoing correspondence found in subseries I reflects the tireless efforts of a grassroots organization struggling
to secure funding for continued operation.

Subseries II, Educational Programs, 1972-1992 consists of documents which may be used to trace SHGA's efforts to expose the low-income and otherwise culturally isolated
East Los Angeles community to various types of art media and techniques for producing art. In addition to developing an appreciation
for the arts, the participants in these SHGA- sponsored educational programs were encouraged to use art as means of cultural
expression. Another goal of SHGA's programs was to instill within each participant a sense of pride in his or her Chicano
culture. In addition to housing documents which describe the educational programs implemented by SHGA at local public and
private schools, this subseries consists of information pertaining to the many programs sponsored at locations throughout
the East Los Angeles community, as well as those held at the SHGA Avenida Cesar Chavez facilities. Of particular interest
are the contracts between the Los Angeles Unified School District and SHGA which outlined the policies and guidelines for
services rendered by SHGA to the District. Also of interest are documents which detail the program agenda and goals of the
activities which SHGA developed for the many East Los Angeles schools it visited.

Subseries III, Exhibitions, 1980-1990 consists of loan agreements, print purchase receipts, and documents relating to exhibitions sponsored by SHGA. The organization
has sponsored exhibitions and loaned prints to galleries both nationally and internationally. While the exhibition documentation
represents a small number of the exhibitions actually staged, the materials preserved in this subseries are indeed rich.

Subseries IV, General, 1973-1991 consists of a wide variety of material which is related directly and indirectly to activities of SHGA during the years noted.
Contracts for artworks commissioned by SHGA, minutes of meetings of various Chicano artist organizations, and information
which highlights various Chicano issues on the state and local level are among the most significant holdings in this subseries.
They reflect the social and political climate under which SHGA operated during various phases of its existence. (Minutes of
SHGA staff meetings are found in subseries VI,
Personnel, 1972-1990).

Subseries V, Grant Proposals, Reports, and Applications, 1972-1989 is the largest subseries in Series I. The California Arts Council, the Campaign for Human Development, the City of Los Angeles,
and the National Endowment for the Arts figure prominently among the many institutions which provided funding to SHGA. Documentation
of various gifts and grants awarded by these agencies are a large part of this subseries. This subseries includes copies of
applications for funds submitted to various public and private foundations, detailed proposals of the programs for which SHGA
requested funding, and actual contracts between SHGA and various supporters. These contracts reveal the amount of the grant
and detail the provisions of the award. Included in this subseries are a multitude of letters of inquiry from Sister Karen
Boccalero to various organizations requesting information on the types and conditions of grants offered by these groups. Also
included are a number of replies from agencies which rejected SHGA's requests for support.

Subseries VI, Newspapers, Magazines, and Miscellaneous Articles, 1971-1984 primarily consists of clippings which highlight the accomplishments of and services provided by SHGA. Most of the articles
in this subseries deal in general with SHGA's activities and programs. Articles which deal primarily with the Barrio Mobile
Art Studio and the Da de los Muertos will be found in their appropriate series. The clippings in this subseries were originally
found in Spanish as well as English language publications. There are also materials which do not deal directly with the activities
of SHGA, but were housed in the organizational files of SHGA and are retained in this collection at the request of Sister
Karen Boccalero.

SHGA subscribed to numerous periodicals which focused on Chicano art and culture. These periodicals, which SHGA kept among
their organizational files for reference, were not produced by SHGA, and because they are among the titles that are already
held by the Davidson Library, they have been removed from the SHGA archives.

Subseries VII, Personnel, 1972-1990, the final subseries in Series I, holds applications, resumes, and other personnel-related documents pertaining to artists
and other staff employed by SHGA. These records, however, provide only an impressionistic view of SHGA's personnel history
and should not be interpreted as a complete collection of the personnel files of all those who were a part of SHGA during
the 1972-1990 period. Such detailed records of a potentially sensitive nature have not yet been made available by SHGA. Included
in this subseries is an incomplete collection of SHGA staff meeting minutes which illuminate the decision making process of,
and issues dealt with, at SHGA.

Series II, Barrio Mobile Art Studio, 1972-1986 (BMAS), is divided into seven subseries and is distributed among twelve archival boxes. Subseries I,
Correspondence, 1974-1986, consists of copies of letters written by teachers and other school officials in the Los Angeles Unified School District
to state and local officials. The letters inform these officials of the Barrio Mobile Art Studio's valuable service to the
district's school children. School employees urged these officials to support SHGA's request for grants from city, county,
and state agencies. Four of the seven folders in this subseries contain "thank you" notes written by school children expressing
gratitude to BMAS staff artists for visiting their schools and for introducing them to various artistic media.

Subseries II, General, 1975-1980, consists of a variety of documents relating to the daily operation of the Barrio Mobile Art Studio program. This subseries
provides a wealth of information on the many schools visited by the mobile studio. Of particular interest are copies of the
worksheets that were distributed to the school children during BMAS visits, as well as the detailed lesson plans developed
by the staff artists. These items testify to the careful planning that went into each mobile studio visit. Also included in
this subseries are evaluations of the program by teachers whose classrooms were visited by the BMAS. These short-answer evaluations
shed light on what the school teachers perceived to be the strengths and weaknesses of the BMAS educational program.

Subseries III, Grant Proposals, Reports, and Applications, 1974-1979, consists of eleven file folders of documents relating to SHGA's efforts to secure funds for the continuation of the BMAS
program. This subseries contains applications to the California Arts Council as well as to local fund-granting agencies. Because
most agencies required that SHGA submit with the grant application information about the BMAS program's operation, the goals
and objectives of the program, and a projected budget, richly detailed program descriptions as well as information about BMAS
operations costs may be gleaned from the documents.

Subseries IV, Newspaper and Magazine Articles, 1976-1978, is the smallest of the seven subseries in Series II. This subseries consists of a selection of articles from English as
well as Spanish language publications. While the majority of these articles survey the history and accomplishments of the
Barrio Mobile Art Studio, there are a few which highlight other SHGA endeavors, such as the Galera Otra Vez, and focus on
SHGA personalities, such as Carlos Bueno and Antonio Ibaez.

Subseries V, Personnel, 1972-1988, is comprised of six file folders and contains copies of various personnel-related documents, such as employment applications
and program evaluation forms. Like the personnel subseries in the series I, there are no files in this subseries which give
detailed information on individual artists associated with SHGA. Included here, however, is a thin file folder with material
that deals exclusively with the career of Carlos Bueno, one of the founding artists of SHGA.

Subseries VI, Photographs, Negatives, and Slides, 1973-1982, is housed in six archival boxes. The vast majority of the photographs in this subseries were taken by SHGA staff members.
These photographs document many of the BMAS visits to schools and artists at work in the SHGA Avenida Cesar Chavez facilities.
Two of the forty-five folders in this subseries consist of photographic prints purchased by SHGA. These are primarily comprised
of photographs of pre-Columbian architectural ruins, sculpture, pottery, paintings, and other artifacts from Latin and South
America. Also included are candid photographs of contemporary indigenous peoples from the regions noted above. The items noted
above served as visual tools for artists wishing to study their cultural roots and incorporate old world techniques and subjects
into contemporary Chicano art.

Subseries VII, Color Photocopies, Flyers, and Invitations, 1977-1978, holds seven file folders of color photocopies and one of flyers and invitations. Many of the color photocopies capture the
activities of artists and children at work at the BMAS and in the SHGA studio. Others are of the works produced by the SHGA
artists. Still others are photographic reproductions of well known pieces of art from a variety of cultures from several periods
in the history of art. Included in this subseries are many color photocopies of photographs of Latin and South American indigenous
peoples. SHGA sponsors numerous activities at its Avenida Cesar Chavez facility and receives a multitude of invitations from
groups and institutions hosting workshops, art shows, and other community activities. Preserved in this subseries is both
a selection of flyers distributed by SHGA announcing activities at its studio, and many of the invitations that it received.

Series III, El Da de los Muertos, (Day of the Dead), 1960-1991, is divided into seven subseries and is housed in six archival boxes. Subseries I,
Correspondence 1974-1987, consists of both incoming and outgoing correspondence and is held in two file folders. The incoming correspondence is primarily
from children to members of the SHGA staff. These are "thank you" letters which were written in appreciation of the staff
for visiting classrooms during the Da de los Muertos holiday season. The one folder in this subseries which holds the outgoing
correspondence consists of three letters.

Subseries II, General 1971-1991, consists of nine file folders. This subseries contains a series of documents (such as applications for parade permits and
insurance contracts) which reflect the bureaucratic processes involved in staging the Da de los Muertos celebration (technically
a private event) on public property. Included in this subseries are copies of the itinerary of activities planned by SHGA
for the Da de los Muertos celebration. Unlike Series II, the General subseries in Series III does not hold extensive or detailed
information on the lesson plans that SHGA staff used when presenting Da de los Muertos to local elementary schools. Curriculum
information of this kind is embedded in subseries III (please see its description for details).

Subseries III, Grant Proposals, Reports, and Applications 1976-1983, is the largest subseries in Series III. This subseries contains twenty-four file folders, most of which hold applications
for federally supported grants. The applications seek support for the Da de los Muertos parade and celebration -- the single
most costly and widely attended event sponsored by SHGA up until 1985 when it discontinued being its primary organizer. Most
of the grant applications in this subseries were to the National Endowment for the Arts (NEA) and to the National Endowment
for the Humanities (NEH). In order to evaluate requests for financial support, both the NEA and NEH required that detailed
reports attesting to a project's past or potential success and cultural value be submitted with the grant application. As
a result of these reports, a wealth of detailed information on the Da de los Muertos celebration may be found in this subseries.
In addition to the detailed curriculum plans which deal with the Day of the Dead holiday that were used by the Barrio Mobile
Art Studio staff, newspaper clippings, photographs, and negatives also accompany the reports and will be valuable to researchers.

Subseries IV, Magazine, Newspaper, Journal, and Miscellaneous Articles, 1968-1991, holds an extensive collection of materials which deal almost exclusively with the Da de los Muertos. Most of the articles
in this subseries were originally featured in Spanish as well as English language publications, however, SHGA also produced
several short articles for publicity and cultural education purposes. These articles are found in this subseries.

Subseries V, Photographs, Negatives, and Slides, 1960-1985, is contained in seventeen file folders. The vast majority of the photographs and slides were taken by SHGA staff members
in an effort to document the festivities of Da de los Muertos celebration. Also included is a sampling of photographs of the
holiday as celebrated in Mexico. See also series V.

Subseries VI, Color Photocopies, Flyers, Invitations, and Posters, 1975-1986, is contained in five file folders. Included in this subseries are photographs documenting activities at the SHGA facilities,
posters and flyers announcing SHGA's upcoming events, and photocopies of SHGA-produced essays that inform potential celebration
participants of the Da de los Muertos historical background and cultural significance. The flyers distributed by SHGA are
in themselves illustrative of the type of art produced by SHGA during the Da de los Muertos celebration.

Subseries VII, Notecards, undated, the final subseries in Series III, consists of two folders of notecards produced and sold by SHGA artists during the Da
de los Muertos celebration.

Series IV, Magazine, Newspaper, Journal, and Miscellaneous Articles, 1963-1991, houses fifty-six file folders of documents which cover a wide variety of topics. Many of the articles in this collection
do not deal exclusively with SHGA, rather, they address East Los Angeles community issues which indirectly affected SHGA.
Others focus on Chicanos at the state, local, and national level. It should be noted that this collection is not limited to
clippings; many of the file folders contain entire periodicals. These range from scholarly journals to other artists' newsletters
and journals, and from community publications (such as social directories) to Chicano popular culture magazines. Included
in this collection are a variety of pamphlets, booklets, and brochures which call attention to a multitude of Chicano concerns
and issues. Of particular interest is a ninety-nine page booklet titled
Art in Education Approach. This work was written by SHGA staff members and published by the organization in 1983. The illustrated booklet describes
in detail the Exemplary Arts Project and the activities and approaches that SHGA developed to use in their elementary school
multicultural education programs. This publication booklet was written to serve as a manual for teachers wishing to use art
in the classroom.

Series V-Photographs, Negatives and Slides, 1920-1991. This series consists of four archival boxes that hold an impressive array of photographs capturing many subjects and spanning
six decades. Additionally there are seventeen slide albums which contain a voluminous collection of visual images. Within
this series are dozens of black and white photographs of members of the Los Angeles Chicano community. Many of these photographs
are not dated, but most of them were presumably taken between 1920 and 1950. Notable among the many photographs of SHGA staff
members in this series are several large, color, glossy prints of artist Linda Vallejo instructing senior citizens how to
paint self-portraits. Unique to the Series V is a collection of several photographs of art shows that were held at SHGA's
Galera Otra Vez. Of special interest in this series are several photographic proofs documenting United Farm Workers' leader,
Csar Chavez, and episodes of the farm workers' movement, as well as an additional set of proofs which show members of the
Chicano student organization, MECHA rallying in protest of the 1978
Bakke v. the University of California Supreme Court decision. Additionally, there are photographs depicting the history of Self-Help Graphics, the Concilio de Arte Popular Meeting,
and Art Exhibition. The series’ prominent feature is a large collection of slides. Housed in 13 albums, these slides provide
visual images of various art works such as assemblage, graphic arts, drawings, indigenous Chicano art, installation art, murals,
paintings, performance and conceptual art, photographs, and sculptures related to the SHGA, and of center activities and programs.
These slides are an unusually rich source of Chicano art and culture.
A separate catalog is available for this slide collection. See Appendices A and B covering the years 1973-2003. Additionally, there are Chicano Muralists slides housed in a mixted materials box.

Series VI, Color Photocopies, Flyers, Invitations, and Posters, 1973-1992, is held in forty-one file folders housed in five archival boxes. Many of the color photocopies picture SHGA staff at work
in the Avenida Cesar Chavez studio while others are of the artists' works. In some cases, the photocopies are mounted on paperboard.
Also included in this collection is a multitude of invitations to community events both sent from, and received by, SHG. This
also includes the Self-Help Graphics Program Overview: The Early Years and GCIC Collection color photocopies.

Series VII-Note Cards, undated Series VII, the last series in the SHGA archives is housed in two archival boxes. This collection of notecards and postcards
consists of cards whose cover designs were created by use of metal plate etchings and through the silkscreen process. While
none of the notecards in this series are dated, the names of the particular artist or artists responsible for their creation
are written on the flap of the glassine envelope in which they are stored. The images depicted on the covers of these cards
range from animals, to humans, to Aztec designs, to abstract drawing. Folder four of box 40 is the only folder in this series
which has postcards. Most of these announce some event sponsored by SHGA. The front of each card possesses an original design
created by one of the many SHGA artists.

Series VIII-Graphic Arts and Poster Collection. Series VIII represents the voluminous serigraph and poster collections in this archive. The collection presently consists
of over 600 serigraphic prints and an posters. Self-Help Graphics & Art is one of the most active and prolific Chicano silk
screen poster workshop collectives in the country. Nowhere is this more evident than in its Atelier Screen Print program,
which began in 1983 to provide emerging artists with the opportunity to practice their creative talents and to help them gain
exposure. The Atelier program has two goals: to bring some of California's best Chicano artists together in a collaborative
atmosphere where they can create fine art serigraphs, and to generate income from the sales of their artwork to help perpetuate
the program.

Many of the now-prominent Chicano/Latino artists produced their early work at Self-Help Graphics; such artists include Carlos
Almaraz, Michael Amescua, Barbara Carrasco, Yreina Cervantez, Richard Duardo, Diane Gamboa, Antonio Ibanez, Leo Limon, and
Michael Ponce, to name a few. The silk screen collection is a rich source of documentation and reflects the evolution of the
Chicano art movement. A diversity of themes, including social, political, and cultural issues, are represented in these intense
and personal artistic statements.

There have been three master printers involved in the Atelier program from its inception in 1983 to the present. The first
was Stephen Grace, responsible for producing Ateliers I through VII. His tenure as a master printer with the program is represented
by sixty archival quality limited edition prints by forty-two artists. Grace's successor, Oscar Duardo, is the brother of
the renowned artist and master printer Richard Duardo. In addition to maintaining Self-Help Graphics' high standards of printing,
the former Durado is someone whose talent and commitment has sparked considerable enthusiasm and creativity at Self-Help Graphics.
Duardo’s successor Jos Alpuche, continued Self-Help Graphics fine print-making tradition.

My work is closely related to personal experience. This visual poem tells the story of a relationship that was so intense
that it was extinguished by the fire of passion. This love is being reborn through a new fire of life but it has to face a
deconstruction of its past and in a cathartical experience overcome the present to be able to grow into the future." J.A.
Aguirre Fund: Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer:
Color House.

Album 1, Slide Cat.2 003

It's Like the Song, Just Another Op'nin' Another Show...January 8-12, 1990

General Physical Description note: silkscreen

creator:
Antonio Aguirre, José

Description/Comments

"This print is intended to be a tribute to the memory of Carlos Almaraz and to those that have also died from AIDS. The image
of the cross coming from the head/photograph of Almaraz is combined/appropriated with a few symbols from Carlos' own iconography,
developed with my own treatment and color perception." J.A. Aguirre Fund: Self-Help Graphics, California Arts Council, National
Endowment for the Arts Visual Arts. Slide photographer: Color House.

"I live in Hollywood, in a part of the city that used to be residential but is now in a state of change. There are a lot of
stray cats in this neighborhood. The cats are forced to survive on their own. The cities are in the same state of plight.
I have used the stray cat as a symbol of what happens to a city in decline and to its inhabitants--an electric neon existence
of surviving at any cost--casting an uncertain shadow to its future." A. Alferov Fund: Self-Help Graphics, California Arts
Council, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 006

Oriental BlondOctober 3-7, 1988

General Physical Description note: silkscreen

creator:
Alferov, Alex, 1946-

Description/Comments

Oriental Blond is a portrait that speaks of the two diverse background cultures from which Mr. Alferov has come. The bright
blond side of the face is the white cultural roots while the blue side represents his oriental ancestry. The body of Mr. Alferov's
work speaks about the conflicts and resolutions of meeting middle ground through cultural and emotional diversity. Fund: National
Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council. Slide photographer: Color House.

Album 1, Slide Cat.2 007

SobrevivienteJanuary 29-February 2, 1990

General Physical Description note: silkscreen

creator:
Alicia, Juana, 1953-

Description/Comments

"Originally done as a book illustration on the theme of 'Tales of survival and disappearance in Argentina', then as a pastel
painting, a lithograph and now as a silkscreen, the image has evolved to mean an expression of the tenacity and spiritual
inner light of all women who persevere in oppressive situations, be they imprisoned in concentration camps, jails or their
own homes." J. Alicia Fund: National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council. Slide
photographer: Color House.

"Other shamans dream that someone wants to throw a cloud which will destroy all of the people. All of us will end from this
cloud. Others say they dream that a giant animal will fall and, where it falls, everything will burn in a great fire. The
only way to stop this is to renew the candles so the gods are contented. The shamans know how; they did this once a very long
time ago. Maybe they will do it again, maybe not. They will dream what they have to do." Ulu Temayk, Mara'akame (Huichol Shaman)
Fund: National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council. Slide photographer: Color
House.

Album 1, Slide Cat.2 010

TociJanuary 14-19, 1989

General Physical Description note: silkscreen

creator:
Amescua, Michael M.

Description/Comments

"'Toci' mother of the gods and heart of the earth. The divine grandmother. Mother Earth. She says, 'Look at me, I am beautiful,
do not destroy me'." M. Amescua Fund: Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual
Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 011

XolotlJanuary 2-6, 1990

General Physical Description note: silkscreen

creator:
Amescua, Michael M.

Description/Comments

"Xolotl guides the sun thru the underworld. Here he is asking, 'Who will speak for the animals, will they all drown in mankind's
pollution or will you speak and act now, today, this minute to pick up your own garbage?'" M. Amescua Fund: Self-Help Graphics,
California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

"A personal piece celebrating the birth of my first child, Sara Paloma, depicted at 4 months. The 2 weavings are used to symbolize
two cultures from her background--Mexican and Indian--and also the textures and interweavings of one's life. The photographs
symbolize her connections to her past (she is named for her great-grandmother Sarah). The feathers on the rug symbolize feathers
of the dove which in Native American cultures stand for good deeds and power in one's life." This print represents gifts she
has received from her past. G. Avila Fund: California Arts Council, Self-Help Graphics, National Endowment for the Arts Visual
Arts. Slide photographer: Color House.

"Refer[s] to the alienation of people who live in a super metropolis experience. Human beings are separated from direct contact
with nature. The person becomes a mere reflection of self. These entities are defined by the image of them within the little
box of a television set." G. Bert Fund: California Arts Council, Self-Help Graphics, National Endowment for the Arts Visual
Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 019

Dilemma in ColorNovember 16-21, 1987

General Physical Description note: silkscreen

creator:
Bert, Guillermo

Description/Comments

"The ambivalence of thoughts amid the strong influence of television and the hidden energy that makes it possible. The conflict
is intensified by the aggressive, brilliant colors." G. Bert Fund: National Endowment for the Arts Visual Arts, Self-Help
Graphics, California Arts Council. Slide photographer: Adam Avila.

"The elder represents long life in a peaceful setting. The plumed serpent is 'Quetzalcoatl' representing the 'creative force'
but also 'chaos' which surrounds the elder and wants the heart as the final sacrifice of life. The braids on the heart are
her/his life's story; the nopales cactus are new life still growing. The cat is the jaguar, 'Tezcatlipoca', death lingering
over your left shoulder, waiting for the person giving up on life. Message: We must remain in balance, rest and soothe our
hearts, not succumb to desires, etc., around us." D. Botello Fund: Self-Help Graphics, California Arts Council, National Endowment
for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 022

ReconstructionNovember 27-December 1, 1989

General Physical Description note: silkscreen

creator:
Botello, Paul J.

Description/Comments

"This piece is about the reconstruction of man with the help of a woman. Time swings back and forth, half man, half skeleton.
The pregnant woman lying down shackled is a reference to the responsibility of motherhood." P. Botello Fund: Self-Help Graphics,
California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

"Manifestation of Trinity is an attempt to portray analogies between the ancient and the universal concept of Trinity and
recognizable manifestations in life that are triple in nature, the three primary colors from which all other colors emerge,
and the family unit of father, mother and child from which all nations take form. Spirit endows matter with dynamic conscious
life." R. CalderÙn Fund: California Arts Council, Self-Help Graphics, National Endowment for the Arts Visual Arts. Slide photographer:
Adam Avila.

Album 1, Slide Cat.2 025

In Our Remembrance Is Our ResurrectionDecember 10-11, 1983

General Physical Description note: silkscreen

creator:
Cardenas, Mari

Description/Comments

Fund: ARCO, Self-Help Graphics. Slide photographer: Adam Avila.

Album 1, Slide Cat.2 026

Untitledca. Fall 1983

General Physical Description note: silkscreen

creator:
Cardenas, Mari

Description/Comments

Fund: Self-Help Graphics, ARCO. Slide photographer: Adam Avila.

Album 1, Slide Cat.2 027

Negativity AttractsMarch 26-30, 1990

General Physical Description note: silkscreen

creator:
Carrasco, Barbara, 1955-

Description/Comments

"The print is the result of minimalizing detail work in order to focus more clearly on color and content (form). Negativity
Attracts reflects male-female relationships often seen as conflicting yet attracting because of, or in spite of, differences."
B. Carrasco Fund: California Arts Council, Self-Help Graphics, National Endowment for the Arts Visual Arts. Slide photographer:
Color House.

Based on distorted perspective creating abstract-like forms and accented by lines to frame the objects. Shadows are also incorporated
into the design with use of shape and color. The subjects are familiar ones to most Mexican-Americans; they evoke an ethnic
feeling unique to the culture which has introduced this type of pastry, "Molletes", to our society. "The subjects I paint
are a reflection of the bi-cultural work that surrounds me. These subjects express the rebirth of ideas and feelings which
are emerging in today's society." S. Coronado Fund: Self-Help Graphics, California Arts Council, National Endowment for the
Arts Visual Arts. Slide photographer: Color House.

The Vote Series is a group of paintings and prints that emphasize the vote. The artist reacted to apathy on the part of many
of our citizens. He was born in the south when the right to vote was denied his family because of their race. "Many people...
particularly in the south have made great sacrifices to assure the right to vote for all people, and the Vote Series is intended
to be a nonpartisan motivator and consciousness raiser for all citizens." A. Davis Fund: National Endowment for the Arts Visual
Arts, Self-Help Graphics, California Arts Council. Slide photographer: Adam Avila

"The print emphasizes the power and impact of the right to vote. This print is to raise the consciousness of the Jesse Jackson
Presidential Campaign." A. Davis Fund: California Arts Council, Self-Help Graphics, National Endowment for the Arts Visual
Arts. Slide photographer: Color House.

"Pregnant female figure in anxious position with umbilical attachment to ground--fertility of people; of the earth. Soldier
as a set piece in the game of exploitation between countries. The clown figure from pack of 'Payaso' cigarettes common to
Guatemala. Three headed dog whose symbolism probably has some deep mythological story that has to do with Hades, the river
Styx, Dante Alleghieri, and so on, but it's just an image from the Mexican state of Guerrero that looked cool." R. Delgado
Fund: Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Color
House.

"It was a dream, it was all a dream." A. Donis Fund: National Endowment for the Arts Visual Arts, Self-Help Graphics, California
Arts Council. Slide photographer: Color House.

Album 1, Slide Cat.2 047

Río, por no llorarNovember 28-December 2, 1988

General Physical Description note: silkscreen

creator:
Donis, Alex, 1964-

Description/Comments

"Basically my print is a statement about oppression. It's about people who struggle to survive while their lands are stripped
away and their resources siphoned. I recently read the lyrics to a song which I think most clearly defines my piece: '...So
take a good look at my face, you'll see my smile looks out of place, look even closer, it's easy to trace the track of my
tears'." A. Donis Fund: Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer:
Color House.

Album 1, Slide Cat.2 048

The Father, the Son and the Holy GhostFebruary 29-March 6, 1988

General Physical Description note: silkscreen

creator:
Duardo, Richard

Description/Comments

"Well, it was quite a spontaneous activity indeed. The content of this image is totally appropriated from the commonplace
of contemporary culture. Their layout is to indicate the following: Mickey, omnipotent god (benevolent and happy); the robot,
man on earth, a replicant of god--Symbols: O.K, meaning everything is swell on earth." R. Duardo Fund: California Arts Council,
Self-Help Graphics, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 050

UntitledJanuary 25-February, 1985

General Physical Description note: silkscreen

creator:
Duardo, Richard

Description/Comments

Female torso, on abstract field including Japanese characters, Made in U.S.A. Fund: California Arts Council, Self-Help Graphics,
National Endowment for the Arts Visual Arts. Slide photographer: Adam Avila.

"I continued to build texture and detail. The Little Gold Man himself is the focal point of the other figures in the piece,
but at the same time is one of the many figures involved in this print, as in other prints I have created through the Atelier
program. I attempted to work on an image using a new technique that is very different from my other prints." D. Gamboa Fund:
National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council. Slide photographer: Color House.

"The print is symbolic of the sexual tensions in the first stages of 'Romance'. The fork foams on the appetite of those involved.
Chili, sex, something that feels so good can burn so bad." M. García Fund: California Arts Council, Self-Help Graphics, National
Endowment for the Arts Visual Arts. Slide photographer: Color House.

"Designed for Plaza de la Raza Cultural Center. The legend of the cowboy, my concept is, 'life is to be lived' and El Vaquero
is certainly living life. His motion is free; with the air blowing through his scarf and hair, he has no worries. Life should
be as free and fun loving as El Vaquero." Y. Gonzalez Fund: California Arts Council, Self-Help Graphics, National Endowment
for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 064

Don Juan's Got the BluesDecember 5-9, 1988

General Physical Description note: silkscreen

creator:
Gonzalves, Ricardo

Description/Comments

"The image of the coyote is a representation of the brujo Don Juan as he is transformed into animal form. This work is an
expression of an indigenous epistemological view that considers an alternative reality. Don Juan is presented here as an animal
warrior on a mission to preserve and advance Chicano culture. ¿Y qué?" R. Gonzalves Fund: California Arts Council, Self-Help
Graphics, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

"The dog or perro symbolizes men or man. It's a concept of men chasing women. This woman does not want to be chased and therefore
hides in her room, holding her body in despair.", D. Guerrero-Cruz. Fund: Self-Help Graphics, California Arts Council, National
Endowment for the Arts Visual Arts. Slide photographer: Color House.

This print depicts the irony of three Chicano children growing up in an Anglo society with images of the society, therefore
losing the heritage. It also speaks to the idea that children can be taught to save the world from nuclear war with their
peacemaking friends. Fund: National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council. Slide
photographer: Adam Avila.

Album 1, Slide Cat.2 071

Perro en mi CamaOctober 31-November 4, 1988

General Physical Description note: silkscreen

creator:
Guerrero-Cruz, Dolores

Description/Comments

"This is part of my series on women and dogs. The other prints consist of the dogs on the prowl for women. In this print,
the dog accomplishes his goal. Here he lies comfortably with the woman with a smug smile on his face because of his achievement.
These dogs represent men who continually harass women with their cat calls.", D. Guerrero-Cruz. Fund: California Arts Council,
Self-Help Graphics, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 066

Untitled (The Bride)February 19-28, 1985

General Physical Description note: silkscreen

creator:
Guerrero-Cruz, Dolores

Description/Comments

"The bride is a statement about my struggle as an artist, who leaves the professional field of art in order to survive as
a single parent. During this time, this woman feels like she is slowly dying because she is not able to be what she wants
to be. This is not against marriage, but a statement that one must be what she really wants to be before she can be anything
else. Women have a harder struggle than men simply because we are women; I hope that for the women of tomorrow the struggle
will be easier to make their lives better.", Dolores Guerrero-Cruz. Fund: National Endowment for the Arts Visual Arts, California
Arts Council, Self-Help Graphics. Slide photographer: Adam Avila.

"The theme is our interconnectedness with each other and The Universe. The car represents movement in space and time is represented
by the images of four women: La Virgen de Guadalupe (the driver), the Mexican Indian grandmother, the modern Chicano mother
and child. The Aztec moon goddess Coyolxauqui signifies our link with the past. The print is part of my ongoing tribute to
La Mujer Chicana.", E. Hernández. Fund: National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council.
Slide photographer: Color House.

"Revivalist sect of the new world conjuring ancient spirits through the releasing of doves. This ritual opens the door to
the spiritual world, praying, prancing, dancing, clapping of hands; trumpeting in the night transcends the participants into
the world of the Eternal.", B. Hoyes. Fund: Self-Help Graphics, National Endowment for the Arts Visual Arts, California Arts
Council. Slide photographer: Adam Avila.

"The warrior spirit continues in contemporary times. Encroachment on sacred land area of nature by people for U.S. military
testing, and fencing off lands keeping Indian people from sacred areas.", J. LaMarr. Fund: Self-Help Graphics, National Endowment
for the Arts Visual Arts, California Arts Council. Slide photographer: Color House.

Album 1, Slide Cat.2 080

Vulcán de PacayaMarch 6-10, 1989

General Physical Description note: silkscreen

creator:
Lane, Leonie

Description/Comments

"This print is based on my New Year's Eve 1988-89 spent with 14 people on top of Vulcán de Pacaya just south of Guatemala
City, Guatemala. The combination of the active volcano, fireworks, campfire and fireflies is a potent mixture of heat, light
and symbols. The volcano is a symbol for many things--underlying tensions exploding to the surface--political, social, sexual
and emotional. This night and this mountain serve as a stage for reflection on events of the present and future. Fire is a
catalyst for change, ignition of passion, destruction of the old, commencement of the new.", L. Lane. Fund: Self-Help Graphics,
California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

"The Tijerina Tantrum is about Reyes Tijerina, the Aloncia, the forest station and the U.S. Military. The image in the center
symbolizes Shiva Energy that is through her dance of the Tijerina Tantrum; energy spins off igniting the tension between Reyes-Aloncia
and the Forest Ranger-Military. In general this print embraces the energy generated by the politically turbulent 60's.", D.
Montoya. Fund: National Endowment for the Arts Visual Arts, California Arts Council, Self-Help Graphics. Slide photographer:
Color House.

Album 1, Slide Cat.2 093

Sí Se PuedeJanuary 9-13, 1989

General Physical Description note: silkscreen

creator:
Montoya, Malaquías, 1938-

Description/Comments

"These images deal with struggle. I use the maguey plant as a symbol of strength. In this image the plant and its power are
the manifestation of the frustration of the poor represented by the person looking out of the rectangular box. The maguey
is ripping through the American flag, which I use here as a symbol of those things which oppress people.", M. Montoya. Fund:
Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

"We wear the scars of our past, bad experience, touch them and feel the fear, the anger, the pain, over and over again. Those
moments from our past are but a collage of fading images. Shadows of ghosts. We must look forward, to life.", A. Norte. Fund:
California Arts Council, Self-Help Graphics, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

"Mexican-Americans. These three generations formulated the passionate Mexican-American heritage. But the Mexican-American
was to enter his own revolution: to fight for his identity; to establish his values in a country which differed in culture
and in values from the three generations that had preceded him. Now the fifth generation has to respond to a new-age culture:
electronics, space, sex, materialism, Ronald Reagan, etc. Like the cactus which supports the eagle on the Mexican flag, they
are all undeniably Mexican-rooted!", J. Perez. Fund: California Arts Council, Self-Help Graphics, National Endowment for the
Arts Visual Arts. Slide photographer: Adam Avila.

Album 1, Slide Cat.2 103

Say YesJanuary 30-February 3, 1989

General Physical Description note: silkscreen

creator:
Perez, Jesús

Description/Comments

"Between hope and hopelessness, any child, including the child within us, is fragile, vulnerable, and dependent on an external
world for its very survival. Many factors will shape and mold its future. Needy children, through no fault of their own, are
subject to a murky world of oppression. As a volunteer chair of a YMCA fundraising campaign, I see many campaigners and donors
who are making a difference in many of these children's lives. I salute these volunteers who dare 'say yes' to the YMCA and
help us to 'Say yes!' to life.", J. Perez. Fund: Self-Help Graphics, California Arts Council, National Endowment for the Arts
Visual Arts. Slide photographer: Color House.

"Based on series of pastel sketches on newspaper. The religious imagery of the sacred hearts of Jesus and Mary conveys personal
religious convictions in a purely aesthetic approach. The print medium has recreated the newspaper accurately, while the image
retains the immediacy of the original. I've also used monotype to enhance the attitude of making art at the moment. The overall
piece conveys an irony in the juxtaposition of religious symbols and the disposable, temporary material on which they are
executed." L. Perez Fund: Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual Arts. Slide
photographer: Color House.

"This print depicts a young girl who, while in her sleep, visualizes her fear of a snake curled close to her which may strike
as it reaches towards the sunset. Images of unborn children within a tree (tree of life) and the dark clouds shaped like an
eagle edge towards the sunset, reflecting an old Indian wise man that oversees her presence. Symbols relate to the notion
of the fear of losing one's cultural identity and of the hope for children to maintain their heritage.", J. Bastida-Rodriguez.
Fund: National Endowment for the Arts Visual Arts, California Arts Council, Self-Help Graphics. Slide photographer: Color
House.

Album 1, Slide Cat.2 112

A Part of You and Me1989

General Physical Description note: silkscreen

creator:
Rodriguez, Reyes

Description/Comments

"The print is inspired by my daughter. The coming together of two Latin cultures, one Brazilian and the other Chicano. The
snake is transformed from an Aztec symbol to the streets of Rio. On the upper left corner is the diety Yemanja, Goddess of
the Sea, and in front of her are lilies associated with Chicano and Mexican art. A calavera peeks through on the right hand
side.", R. Rodriguez. Fund: National Endowment for the Arts Visual Arts. Slide photographer: Color House.

The white cross standing in a field of yellow sunflowers exists in Arroyo Seco, New Mexico, in the local cemetery. Arroyo
Seco is near Taos, New Mexico, and the background is an indication of the magic mountain sacred to the Pueblo Indians. Fund:
National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council. Slide photographer: Color House.

Album 1, Slide Cat.2 115

Cruz Hacienda MartínezJanuary 18-22, 1988

General Physical Description note: silkscreen

creator:
Romero, Frank E.

Description/Comments

"The print depicts a small cross hanging in the Martínez Hacienda in Taos, New Mexico. I've tried to convey an emotional feeling
this kind of imagery evokes." F. Romero Fund: National Endowment for the Arts Visual Arts, California Arts Council, Self-Help
Graphics. Slide photographer: Color House.

"Balance of Knowledge--Balance of Power deals with the individual coming to a point in himself and society, being educated
by its own example. The use of the arch for knowledge and balance; the spiral for inner strength, understanding and compassion;
the lightning for physical strength and endurance. Power to the person.", N. Taylor. Fund: Self-Help Graphics, California
Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Adam Avila.

"The fight represents the differences in ideologies concerning the decision-making about citizenship. The decision is either
to maintain Mexican citizenship and deny any involvement in policy making in the United States or to give up Mexican citizenship
and, much more, to become U.S. citizens. The images that I include are: A flag: a country's symbolic identity; el Apache:
a reminder of the country's cultural roots; the drum: the disciplining of a country's ideologies; el valiente: the defender
of one's country.", A. Urista. Fund: National Endowment for the Arts Visual Arts, Self-Help Graphics, California Arts Council.
Slide photographer: Adam Avila.

Album 1, Slide Cat.2 134

El Llamado DivididoOctober 24-28, 1988

General Physical Description note: silkscreen

creator:
Urista, Arturo

Description/Comments

"El Llamado Dividido or The Divided Call is images and messages that constitute a call for unity under cultural/social and
political beliefs, but are divided because of social upbringing.", A. Urista. Fund: California Arts Council, Self-Help Graphics,
National Endowment for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 135

The Travel Back1989

General Physical Description note: silkscreen

creator:
Urista, Arturo

Description/Comments

"The migration of the cultural from the logic of Blind Justice back to the spirituality of the Mayans. The imagery depicts
women as the sole identity of the movement towards the roots of cultural awareness; from Mexico to the U.S. and back.", A.
Urista. Fund: National Endowment for the Arts Visual Arts, California Arts Council, Self-Help Graphics. Slide photographer:
Color House

"This print is autobiographical: The breaking away of the old and the emergence of the new self.", P. Valdez. Fund: California
Arts Council, Self-Help Graphics, National Endowment for the Arts Visual Arts. Slide photographer: Adam Avila.

"The print deals with ways of thinking of Mexico: the banner is tourist brochure style; the eagle is folk-artsy; the snake
is designy; the cactus is just a cactus. The frame is a stream-of-consciousness field of images (visual, historical, narrative
and musical and sensual) that I associate with Mexico and Mexicanos. The calaveras of Posada accompany the cantante on her
guitar--her song of love becomes the lovers in a desert on the bottom of the frame. Hidden behind the eagle is the Virgen
de Guadalupe, the unofficial symbol of Mexico.", J. M. Walker. Fund: California Arts Council, Self-Help Graphics, National
Endowment for the Arts Visual Arts. Slide photographer: Color House.

Album 1, Slide Cat.2 143

Amor MatizadoOctober 17-21, 1988

General Physical Description note: silkscreen

creator:
Yepes, George

Description/Comments

"The title Amor Matizado translates into Blended Love, hence a blending of thought, ideas, personal preference. The idea began
as a skeleton and a woman kissing, then it became a man and a woman, then ultimately as both figures drew closer to completion,
the end result was two women. My print as the artist on this design was that of an impartial observer.", G. Yepes. Fund: National
Endowment for the Arts Visual Arts, California Arts Council, Self-Help Graphics. Slide photographer: Color House.

"This work portrays passages of my life as a Mexican raised and educated in the U.S. Having left Mexico at a very young age,
I had to adjust to a new culture, new environment, and hardest of all, a new language. Thinking back, it was an experience
impossible to match, but easy to express. Mom once said, 'Vamos a Estados Unidos, donde todo es color de rosa.' (We are going
to the U.S. where everything is like paths covered with rose petals [sic]). It has not been that easy!", A. Zaragoza. Fund:
Self-Help Graphics, California Arts Council, National Endowment for the Arts Visual Arts. Slide photographer: Color House.

Paper Fashion by ASCO. Funds: Self Help Graphics and National Endowment for the Arts 2. Please note: Not Diane Gamboa image/artwork.
3.
Not Dead Yet. 1982
Hit and Run series by Diane Gamboa. Paper Fashion modeled by Linda Gamboa. Day of the Dead with ASCO, Self Help Graphics and Art, Los
Angeles, CA. 4. Please note: Not Diane Gamboa image/artwork. 5.
Not Dead Yet.1982
Hit and Run series by Diane Gamboa. Paper Fashion modeled by Linda Gamboa. Day of the Dead with ASCO, Self Help Graphics and Art, Los
Angeles, CA. 6. Please note: Not Diane Gamboa image/artwork. 7. Please note: Not Diane Gamboa image/artwork. 9. Please note:
Not Diane Gamboa image/artwork. 10. Please note: Not Diane Gamboa image/artwork. 11.
Not Dead Yet. 1982
Hit and Run series by Diane Gamboa. Paper Fashion modeled by Linda Gamboa. Day of the Dead with ASCO, Self Help Graphics and Art, Los
Angeles, CA. 12. Please note: Not Diane Gamboa image/artwork. This 35 mm slide is of Marisela Norte in Armando Norte's Paper
Fashion at the 1982 Day of the Dead with ASCO Fashion Show. 13. Please note: Not Diane Gamboa's image/artwork. This 35 mm
slide is of Marisela Norte in Armando Norte's Paper Fashion at the 1982 Day of the Dead with ASCO Fashion Show.